John Zorn - Spy Vs. Spy: The Music Of Ornette Coleman flac album

Spy vs Spy: The Music of Ornette Coleman is a 1989 album by American composer and strumentalist John Zorn, featuring the compositions of Ornette Coleman performed in the brief intense style of Zorn's hardcore miniatures. The liner notes thank Ornette and Denardo Coleman, Mick Harris of Napalm Death, Ted Epstein of Blind Idiot God, Pil of Lip Cream (a Japanese thrashcore group), The Accused, Craig Flanagan, DRI, CBGB, and "the New York-London-Tokyo Hardcore Triangle".

The performances are concise with all but four songs being under three minutes and seven under two, but the interpretations are unremittingly violent

The liner notes thank Ornette and Denardo Coleman, Mick Harris of Napalm Death, Ted Epstein of Blind Idiot God, Pil of Lip Cream (a Japanese thrash core group), The Accused, Craig Flanagan, DRI, CBGB, and "the New York-London-Tokyo Hardcore Triangle". The outstanding cover artwork was created by indie comic's personality Mark Beyer (of Amy and Jordan fame). The album itself approaches free jazz from the perspective of hardcore punk, particularly taking note of the contemporary innovations of thrash core and grind core

John Zorn plays as part of quintet with two drummers, bassist and altoist. All compositions are shortened till 2-3 minutes brutal energetic free jazz/avant pieces. From very beginning sounds a bit shocking, but has usual Zorn's atmosphere.

Producer – John Zorn. Producer – Elliott Sharp.

This album has an average beat per minute of 113 BPM (slowest/fastest tempos: 66/182 BPM). See its BPM profile at the bottom of the page. Tracklist Spy vs. Spy: The Music of Ornette Coleman. Album starts at 130BPM, ends at BPM (-130), with tempos within the -BPM range. Try refreshing the page if dots are missing). Recent albums by John Zorn.

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stevelovescoffee May 29th 10. Considering peoples appreciation for innovations in sound, it seems unusual that this album goes brushed over as simply the works of Ornette Coleman sped up. Zorn brought a brash, violent harshness that starkly contrasted anything jazz had seen up until that time, and all without sacrificing the musical complexities that Coleman was known for. This album remains a great example of just how far in the musical spectrum hardcore's influence reached. In the words of John Zorn "F ing hardcore rules.